(Post-Bop, World Fusion, Avant-Garde Music) Steve Eliovson - Dawn Dance (w/ Collin Walcott) - 1981, MP3, 320 kbps

Steve Eliovson - Dawn Dance Жанр: Post-Bop, World Fusion, Avant-Garde Music Страна: Германия Год издания: 1981 Аудиокодек: MP3 (конвертировано из lossless) Тип рипа: tracks Битрейт аудио: 320 kbps Продолжительность: 43:13 Наличие сканов в содержимом раздачи: да Треклист: 01. Venice (Eliovson) - 6:39 02. Earth End (Eliovson) - 4:28 03. Awakening (Walcott) - 1:27 04. Song for the Masters (Eliovson) - 4:46 05. Wanderer (Eliovson-Walcott) - 3:10 06. Dawn Dance (Eliovson) - 8:09 07. Slow Jazz (Eliovson) - 4:43 08. Africa (Eliovson) - 5:44 09. Memories (Eliovson) - 2:15 10. Eternity (Eliovson-Walcott) - 1:52 Состав: Steve Eliovson - acoustic guitar Collin Walcott - percussion Recorded at Tonstudio Bauer, Ludwigsburg in January 1981.   Об альбоме (сборнике) This album is something of a legend in the annals of ECM lore, as it was the only ever recorded by the fantastically talented Steve Eliovson. With only Collin Walcott on percussion to support him, the since unheard-from guitarist carved lasting impressions that can now be thankfully heard on CD. The experience begins in “Venice” (as in California), where the guitar’s tectonic shifts speak with tabla like one continent. Eliovson’s sonorities are pristine, especially in “Earth End” and in “Slow Jazz,” where the precision of finger placement and the occasional bent note add a soulful turn of the head. The album’s portal is “Awakening,” an underwater communion of gongs that centers us, closing one door and opening another. The title track is buoyed by a glimmering triangle and steady arpeggios from an internal guitar, while the external speaks in tongues with the various percussive accents that flit in and out of its view. “Song For The Masters” and “Wanderer” share likeminded ostinatos, more flexible melodic leads, and the occasional sitar-ish twang. The unambiguously titled “Africa” seems to prance across the landscape on which we opened, the all-steel sound visceral and true. Two gorgeous closers—“Memories” and “Eternity”—whisper their promises like secrets, falling with the autumn leaves into season as yet unnamed. Sparse anecdotal evidence paints of Eliovson the portrait of a regretful artist, a man who was compelled to sell his worldly possessions (including the instruments of his trade) and return to his native South Africa. Yet we can also take pleasure in knowing that he left this one document, a digitally preserved jewel of quiet magnificence. Better to have been given this single profound journey than a series of false starts.